Detailed C-V

MITCHELL TOEWS: A big list…

 ONLINE ADDRESSES

Mitchellaneous.com
@Mitchell_Toews
Author pages on Facebook, Goodreads, and LinkedIn

 CURRICULUM-VITAE

Updated 3.25.21

EDUCATION

University of Victoria (1974-75)
University of Winnipeg (1975-77)
Masters Certificate in Marketing Communication Management, York University (2001)
“So You Want To Write Indigenous Characters…”, Manitoba Writers’ Guild (2019)

 ASSOCATIONS/MEMBERSHIPS

Member — Manitoba Writers’ Guild
Past Associate Member — Victoria Writers’ Society
Professional Artist — Manitoba Arts Council
New/Early Career Artist — Canada Council for the Arts
Past Member — Winnipeg Public Library’s Prose Writing Circle, led by Winnipeg Public Library Writer in Residence Carolyn Gray (2019-2020)
Member — The Sunday Writers Group, led by Donna Besel (Lac du Bonnet, MB)
Member — WriteRamble, led by Lauren Carter, Winnipeg Public Library Writer in Residence, 2020-2021
Member — Write Clicks, a Winnipeg River/Winnipeg City alliance of writers, a critique circle formed in 2021
Member — Winnipeg River Arts Council

 PUBLISHED WORKS

2016:
16 short stories, 15 online, 2 paid print, 9 Canada, 6 UK, 1 US

2017: 20 short stories, all online, 4 Ca, 1 India, 7 UK, 8 US

2018: 14 short stories, 1 interview, 1 podcast, 1 paid print, 3 unpaid print, 6 Ca, 4 UK, 1 Ireland, 5 US

“I am Otter” — short story, CommuterLit (Ca)

“Fall From Grace”, short story, Literally Stories (UK)

“Of a Forest Silent” — short story, Alsina Publishing LingoBites (UK – English and Spanish)

“City Lights” — short story, Literally Stories (UK)

“The Bottom of the Sky” — short story, Fiction on the Web (UK)

“In the Dim Light Beyond the Fence” — short story, riverbabble (US)

“Nothing to Lose” — short story, riverbabble (US)

“Shade Tree Haven” — short story, Doorknobs & Bodypaint (US)

“Sweet Caporal at Dawn” — short story, Blank Spaces (Ca), paid print

“Sweet Caporal at Dawn” — short story, Just Words, Volume 2 Anthology (Ca), print

“Away Game” — short story, Pulp Literature (Ca), paid print

“The Doeling” — short story, Cabinet of Heed (Ireland)

“Groota Pieter” — short story, River Poets Journal, Special Themed Edition, “The Immigrants” Anthology (US), print

“Five Questions for Mitchell Toews” — interview, Mennotoba (Ca)

“The Narrowing” — short story, Scarlet Leaf Review (Ca)

“Wide Winter River” — podcast, Not Ready for Prime Time (US)

2019: 15 short stories, 1 interview, 1 CNF essay, 1 paid online, 1 paid print, 2 unpaid print, 3 Ca, 2 UK, 1 Australia, 3 Iran, 8 US

“The Fifty Dollar Sewing Machine” — short story, Literally Stories (UK)

“The Toboggan Run” — short story, The MOON magazine (US)

“Peacemongers” — short story, The MOON magazine: “Out of This World” Anthology The Best Short Stories from the MOON (US), Volume 1, print

“Cave on a Cul-de-sac” — short story, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 93

“Din and the Wash Bear” — short story, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 95

“Died Rich” — short story, Fabula Argentea (US), Issue #27, paid

“I am Otter” — short story, Short Tales – Flash Fiction Stories (Iran)

“Away Game” — short story, Short Tales – Flash Fiction Stories (Iran)

 “4Q Interview with Author Mitchell Toews” — interview and excerpt from WIP novel, “Mulholland and Hardbar”, South Branch Scribbler (Ca)

“Ifs and Butters” — short story, TurnPike (US)

“Concealment” — short story, Me First Magazine (US)

“Groota Pieter” — short story, Pact Press (Australia), “We Refugees” Anthology, print

“Fast and Steep” — short story, Riddle Fence (Ca), Issue 34, paid print

“Holthacka’s Quandary” — short story, Lunate Fiction (UK)

“Shade Tree Haven” — short story, (mac)ro(mic) (US)

“My Writing Day” — CNF essay, my (small press) writing day (Ca)

“Our German Relative” — short story, Xmas Stories (Iran)

2020: 11 short stories, 2 CNF essay, 2 interviews, 6 print, 1 paid online, 2 paid print, 5 Canada, 3 UK, 4 US

“The Business of Saving Souls” — short story, Literally Stories (UK)

“The Log Boom” — short story, in “A Fork in the Road,” 2019 Special Theme Edition Anthology of River Poets Journal (US), print

“Encampment” — short story, Tiny Seed Journal (US)

“Regrets de Foie Gras”— short story, Literally Stories (UK), May 2020

“The Grittiness of Mango Chiffon” — short story, Agnes and True (Ca), paid online, Summer 2020

“My Life as a Corkscrew” — a CNF essay “On Writing” in Blank Spaces (Ca), June 2020, print

“Piece of My Heart” — short story, Pulp Literature, (Ca), paid print

“Away Game” — short story, Quail Bell Magazine, (US), paid print

Interview — Maysam Kandej Talks (Iran), https://maysam.id.ir/talks online, August 2020

“My Life as a Corkscrew” — a CNF essay “On Writing” in the Just Voices anthology (Ca), September 2020, print

“The Sunshine Girl” — short story, Cowboy Jamboree Magazine (US), Fall 2020 (John Prine Tribute issue), print and online

“Died Rich” — short story, Fiction on the Web (UK), September 2020

“Baloney, Hot Mustard and Metal Filings” — short story, WordCity Monthly (Ca-Intl), September 2020

“Our German Relative” — short story, WordCity Monthly (Ca-Intl), December 2020

2021 to date: 5 short stories, __ CNF essay, 2 interviews, __ print, __ paid online, __ paid print, 2 Canada, 3 UK, __ US

“Interview with Contributor Mitchell Toews” — Blank Spaces (Ca), January 8 2020

“So Are They All” — short story and interview, Literally Stories (UK), February 14 2021

“Fast and Steep” — short story, CommuterLit “Love Stories,” (Ca), February 14 2021

“The Grittiness of Mango Chiffon” — short story, Literally Stories (UK), March 9 2021

“Fast and Steep” — short story, Fiction on the Web (UK), March 29 2021

“Featured Artist — Mitch Toews” Winnipeg River Arts Council, interview written by Donna Besel (Ca), June 2021

“The Log Boom” — short story, WordCity Monthly (Ca-Intl), July 2021

“In the Dim Light Beyond the Fence” — short story, The Twin Bill (US), July 13 2021

 CONTESTS-PRIZES-AWARDS

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“So Are They All” — short story, second place in the Adult Fiction category of the Write on the Lake (Ca) contest, 2016, paid print

“Fall from Grace” — short story, Honourable Mention in The Writers’ Workshop of Asheville (US) Memoirs Contest, 2016

“The Phage Match” — short story, finalist in Broken Pencil’s (Ca) annual “Deathmatch contest, 2016, print

“Cave on a Cul-de-sac” — short story, winner in The Hayward Fault LineDoorknobs & Bodypaint Issue 93 Triannual Themed Flash contest, 2018 

“I am Otter” — short story, CommuterLit (Ca), Runner-up in for Flash Fiction Feature, 2018

“Sweet Caporal at Dawn” — short story, nominated by Blank Spaces for a PUSHCART PRIZE, 2018, print

“Piece of My Heart” — a 750-word or less flash fiction was named “Editors’ Choice” in the 2020 Bumblebee Flash Fiction Contest from Pulp Literature Press, paid print

“The Margin of the River” — short story, nominated by Blank Spaces for a PUSHCART PRIZE, 2021, print

“Fetch” — short story, one of 11 finalists in a national field of over 800 entries: The Writers’ Union of Canada’s Short Prose Competition for Emerging Writers.

“Fast and Steep” — short story, Summer 2021 Anthology of Short Fiction, Fenechty Publishing (UK), 2021 print and ebook

 FUNDING

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Manitoba Arts Council, June 30, 2020. Financial support for the creation of a unique Manitoba artbook, ekfrastic in nature and featuring artistic photography and short fictional stories. The theme is “People, Places, and Light”. Photography by collaborator, Phil Hossack.

 READINGS

  • Voices Launch, McNally Robinson, Winnipg, MB, 2016
  • PULP Literature Issue Launch, Vancouver, BC, 2017
  • Manitoba Writers’ Guild, Artspace, Winnipeg, MB, 2019
  • Prosetry, Jessica Lake, MB, 2019
  • Driedger Readings, Winnipeg, MB, 2019
  • Victoria Writers’ Society, AGM—Open mic, 2020
  • PULP Literature Reading Series, live internet April 24, 2020
  • PULP Literature Issue 27 launch, live internet July 19, 2020
  • Mechanics’ Institute, San Francisco, Cal, COVID-19 open mic, live internet August 19, 2020
  • Just Voices Volume 4 virtual launch, recorded for September 26, 2020
  • PULP Literature Issue28 launch, live internet November 7, 2020
  • Jake Epp Public Library, Steinbach, MB, 2020 (date TBA, pending Covid restrictions)
  • Several readings are recorded here: https://www.youtube.com/channel/UCsA7vS0kVqP5etL2cPnlM4w

 WORK IN PROGRESS

  • “Mulholland and Hardbar” — a novel (“Fargo, with Mennonite accent”) This 85K-word WIP is out to Beta readers and the author is seeking Sensitivity readers. Not yet querying.
  • “People, Places, Light” — an ekphrastic Manitoba artbook including original photography and short stories (Funded in part by The Manitoba Arts Council | Le conseil des arts du Manitoba.) Not yet underway due to Covid-19 restrictions.
  • “The Mighty Hartski”/”Rommdriewe” | “Downtown Diner” | “Arthur Delorme and the Craigflower Bus” | “Red Light Man” | “Fetch” | “The Three Sisters” | “No Strings” | “Our Better Angels” | “Mr. Babiuk” | “Aunt Emma’s Car Ride” | — Short stories
  • “The Barkman Avenue Peace Accords” — a themed, MennoGrit short story collection NOW QUERYING. A second collection iteration, “Pinching Zwieback” has also been created for query and contests, comprising a wider range of stories, but also focused on Mennonite experiences in the wille hundat (the great unknown).
  • “Tafelburg” — a science fiction novella
  • “The Mismaloya”— a proposed novelette screenplay adaptation

FRIENDS & FOLLOWERS

  • Twitter 5,589
  • Facebook 1580
  • Goodreads 238 friends, 19 followers
  • LinkedIn 804
  • WordPress 204

PANELS

Mitchell Toews participated as an Artist Testifier for the Commission on Basic Income. This Ontario/Canadian (Ontario Arts Council, Canada Council for the Arts) jointly sponsored commission requested Mitch to “share your experience and thoughts with our commissioners and to inform their future report on the issue of Basic Income for Artists.” January 30th and 31st from 12:30pm EST to 5:30pm EST via zoom. 1.15.21: Due to a previous commitment, Mitchell declined to be part of the broadcast but has provided the Commission with comments which were read into the transcript during the event.

Basic Income Artists’ Commission

I was approached by an organization tasked to investigate Basic Income in Canada, with special attention to those of us in the Arts. They created a commission and invited artists from around the country to offer opinion and comment on the concept of Basic Income and how, specifically, it might affect the lives of artists.

I was invited to provide an Artist’s Testimonial and here is what I wrote:

I believe that Canada, wealthy and progressive as we are, could become a country that invests in its marginalized people by providing a guaranteed annual income for all citizens. I envision a graduated scale designed to offer a helping hand to get started or a financial safety net to mitigate financial trouble in an individual’s life and also to be there for those with obstacles to their ability as wage earners. 

Why do this? Because life is unscripted and almost everyone, even those in our large “middle class” population needs help from time to time. Furthermore, and maybe of most importance, there is widespread suffering in Canada caused by poverty. By acting proactively, we have an opportunity to reduce suffering and at the same time empower a class of Canadians who may not otherwise achieve their dreams or even, in truth, live the life that most of us take for granted. 

“The Poor” do not want to be “The Poor!” 

A guaranteed basic income would reduce hardship, support upward mobility and drive greater aspiration across all levels of financial reality. 

Plus, guaranteed basic income is in large part simply moving the dollar investment from the end of the cycle — being reactive and giving cash or services to people in desperate circumstances — to the beginning. We should spend to prevent rather than to rescue. Prevention offers a solution earlier in life, when people are in the formative process, especially concerning education and career.

Now, as to artists, specifically: Choosing the path to your dream of a career in the Arts is daunting because of the long, difficult period of education, training, and incubation. This means, with few exceptions, that those who wish to be professional artists — whatever the discipline — must expect and endure a long initial period as low-income earners.

In my personal experience, even with my parents’ financial support available as I finished college, I chose not to pursue a career in the Arts. I decided to take the safer route, financially, and “save” my art for a later date. That later date took a lifetime to arrive and while I have no complaints, I did not devote myself to my love — fiction — until age sixty. Now I am an emerging artist at age sixty-five and while I am extremely pleased with these last five years, I can’t help but wonder… “What if?”

In my case, perhaps the security of a guaranteed basic income would have given me the courage to chase my artistic dreams and not postpone or dismiss them? It’s impossible to say, but I can say for certain that our society is made more vital by the availability of choice. It’s empowering to know that your basic needs will be met even if the career path you are on will take a while to reach fully-supportive status. Furthermore, Arts Councils, armed with the underpinning of guaranteed basic income could focus all of their efforts on the many professional aspects and not worry about the artists’ core financial needs. The guaranteed basic income would take the pressure off the artists and the Arts Councils, for the betterment of both. This is true for all stakeholders in the artistic “value chain” and would breed an environment of possibility and less of a dismal “starving artist” scenario that defeats many artists before they begin.

Piece of My Heart

I had the opportunity to read one of my flash fictions for the virtual launch of Issue 28 of PULP Literature Magazine. The video is here: https://www.youtube.com/watch?v=bIcbCsZCMpk&feature=youtu.be
and my segment is the first one, running from about the 2:00 minute mark to 9:30.

PULP Lit is a special lit mag. It is, like my kids and grandkids, located in B.C. and also like my kids and grandkids and my sis Char and old friends I don’t see much anymore except for Facebook, one of the many — so many — reasons I love to return and visit B.C. (Damn covid!)

Each issue of the magazine is beautiful to see and something to be absorbed, like a tincture. Curation, editing, art (!), lay-out and theme are carefully balanced and interconnected. Evocative, original, soothing, disturbing… an intellectual event. Their online launch is even more sensorial adding video, voice, imagery and the strange magical sense of flying out across the world with ZOOM wings made of a hybrid chitin of memory and syntax and imagination and hope and words spoken low and slow.

Anyway… despite appropriate Mennonite guilt, I love to read my stories and was pleased to be asked to join in. I get nervous — not a little — doing this type of thing. But somehow, reading my own stories is mostly exempt from that stage fright. It’s a part of the art, an extension I suppose, that allows me to relive the creation of it and add my own live expression, ad hoc. Plus I can enjoy the story as if detached and no longer the author but rather the presenter and part of the audience… both, at once.

~~~

I’ve been reading some wonderful academic writers lately who look at art and writing and Mennonite writing or writing that happens to be done by Mennonites, or that happens to be done by Mennonite imposters, cultural Mennonites, secular Mennonites or Mennonite moles that have tunneled — whiskers twitching — under the village walls.

Two notables have surnames that surely have been represented in Southwood School Valentine card mailings, SRSS grad class rolls, on Mennonite church Sunday School classroom doors, and as alumni of colleges where art debate, Inter-Scholastic Christian Fellowship, and curling bonspiels were all of equal importance. Schillinger! Shun! Sweep!

The two are Magdalene Redekop and Grace Kehler.

Their concepts and ideas are beautiful, complex, and written with the kind of codified care saved for those rare Sundays when the Pastor and his wife are scheduled to “drop by for Faspa!”

For me, the reading is trench warfare. That sounds disparaging but it’s not. It is high praise. I find myself pulled violently down so many rabbit-holes and stuck to the flypaper of all the many soaring ideas — two or three per page! — that I end up taking week-end side-trips that turn into year-long sabbaticals.

The confluence that I am labouriously working towards is that of Redekop, Kehler, Tolstoy (et al), Toews and “Piece of My Heart.” As I read for PULP Lit and especially after I finished, I saw for the first time some of the intricate embroidery of literary academia in my story.

“Piece of My Heart” is, in its bare-boned simplicity, an example of art that seeks to be sincere. An expression. A means of communication. A conversation. A dematerialization. Perhaps seasoned with a sad hint of Mennonite melancholia.

And though the story is austere and spare, it is also a tessellation of Mennonite chapter and verse together with many Gem pickling jars that brim with lore and insinuation. Savoury and not forgotten, packed with dill from the garden, is my autoethnographic version, albeit brief, of the Mennonite creation myth, “across the brutish North Atlantic… sod-hut sanctuaries… hymns sung with the fervour of nothing left to lose,” and more.

To use Author Redekop’s phrase, my little story claims to be “history knowing.”

~~~

As you’ll see in the video, after the story, Editor JM Landels asks me about my WIP novel, “Mulholland and Hardbar.” Here’s some WIP blurbage about the book:

Logline 1: “Fargo, with a Mennonite accent.”

Logline 2: “A journey through the four seasons of the boreal: friendship, deceit, loyalty, and violence.”

Blurb: Set in the Manitoba boreal forest, Mulholland and Hardbar is a unique and moving story about an odd pairing of young men, their complex and dangerous relationship, and their need to learn how to face difficulty with courage and the absence of malice.”


Statement of Location: The author and his wife reside in the boreal forest just north of the fiftieth latitude in eastern Manitoba. Their home — like the Penrose cabin in the novel, “Mulholland and Hardbar” — is situated on Métis land: Anishinabe Waki ᐊᓂᔑᓈᐯᐗᑭ

Print Catalogue

As this rabid cannibal of a year winds down, I wonder about my writerly struggle and the artistic return on investment for me as a writer, 2015-2020.

ROI, baby.

Aside from all the “hard work is its own reward,” kind of sentiment, to which I subscribe and to whose driving power I owe one of the best periods of my redheaded life (apart from the baby powder tinged, little league coaching, proud dad/granddad parts), I wondered about how much of an imprint I’ve been given/achieved so far.

What is my gravitas quotient, or lack of same?

Am I #futility or do I stand a chance? There’s no punter (in the UK slang sense) who knows how to handicap me, there’s no Vegas line on my puny literary squirming, like the last water bug of the season making a tiny ripple that no one else notices.

An editor commented recently that I had a unique voice worth publishing. I fought back the urge to argue with her, and in that moment of cessation, found a glimmer. A glimmer not of hope — that sworl of Van Gogh luminant turbulence is still light years away — but a lifeline thrown out to me in the cold, deep water by a compassionate friend.

When I look at my C-V, I see a lot of online acceptances, a lot of out-of-province markets, and several repeat markets. This is telling of the state of the world of fiction, my preferences, my ability, my relative reputation in a world of water bugs, and my inclination to spend the years on the far side of three score with friends and heroes, not the miserable and the banal.

Anyway… I noticed that the attention of the curator for a certain specific geschichte writer list is focused solely on PRINT. I accept that. There’s so much online writing that it makes sense to begin your list with those in print. Not that I’m not proud (and more than a little) of many of my online publications, but, you know — I get it.

So here fellow water bugs, punters, friends, heroes, banal high-horsers out for a romp among the plebs… is my 2015-2020 Print Catalogue, based on about 100 distinct flash fictions and short stories sent out in over 400 submissions all over the English language literary world.

Ca — “A Fisherman’s Story” Rhubarb Magazine Issue 39 2016
Ca — “So Are They All” Voices Vol 16 No.2 2016 Anthology
India — “I am Otter” The Machinery – A Literary Collection 2017
UK — “Nothing to Lose” The Best of Fiction on the Web 1996-2017 2017 Anthology
Ca — “Sweet Caporal at Dawn” Blank Spaces Magazine 2018 Pushcart Prize Nomination
Ca — “Away Game” Pulp Literature Issue 20 2018
Ca — “Sweet Caporal at Dawn” Just Words, Volume 2 2018 Anthology
US — “Groota Pieter” River Poets Journal Special Themed Edition: “The Immigrants” 2018 Anthology
US — “Peacemongers” The MOON magazine: “Out of This World” The Best Short Stories from the MOON Volume 1 2019 Anthology
Australia/US — “Groota Pieter” Pact Press “We Refugees” 2019 Anthology
Ca — “Fast and Steep” Riddle Fence Issue 34 2019
US — “The Log Boom” River Poets Journal Special Themed Edition: “A Fork in the Road” 2020 Anthology
Ca — “My Life as a Corkscrew” (CNF) Blank Spaces Magazine 2020
Ca — Piece of My Heart” Pulp Literature Issue 27 2020 Winner of the Editors’ Choice in the 2020 Bumblebee Flash Fiction Contest
US — “Away Game” Quail Bell Magazine 2020
Ca — “My Life as a Corkscrew” (CNF) Just Words Volume 4 2020 Anthology
US — “The Sunshine Girl” Cowboy Jamboree Magazine John Prine Tribute Issue 2020
Ca — “The Margin of the River” Blank Spaces Magazine 2020 Pushcart Prize Nomination

(Updated 12.4.20)

A few of these are printed on a rolling basis and so may not be out in the wild yet.

I also have 65 stories in various online publications in the US, the UK, and Canada.

Gregg Norman — Interview & Novel Excerpts

A writer whom I’ve connected with often on the internet — but not yet in person — is Gregg Norman. He’s an interesting guy and like me, comes to fiction as more of a “second act” but in Gregg’s case he absolutely hit the prose trail running hard and fast, lean and loping.

Gregg and wife Jenine reside in western Manitoba and like Janice and I, they spend a lot of time staring out at open water, or seasonally adjusted, an expanse of snow-covered ice.

I invited him to answer a couple of questions and provide writing from his recent work. Here goes:

MJT — “What has shaped and influenced your writing? Life experiences, places, reading, movies, people?”

Gregg —

I was a bookish type as a child though I grew up in a virtually bookless home. I credit my love of the written word to a wonderful librarian in my hometown and some inspirational English teachers and professors in high school and at university. I read voraciously and eclectically. Beyond all that the biggest influence on me as a writer is my wife, Jenine, who is intimately involved in many aspects of the creation of my novels and who believes in what I do (which puts her at the top of my list of morale supporters).

MJT — “In reading your work, I get a sense of Elmore Leonard’s idea that the ‘writing should disappear.’ Is this intentional or is that just a part of your natural style? Would you care to illustrate with an excerpt?”

Gregg —

Elmore Leonard was a wise man. He said, “If it sounds like writing, I rewrite it.” I think that is good advice. A writer needs to know when and how to stay out of his own way. The idea is for the writer to be hidden in the background, out of sight. Tell the story, paint the picture, but keep out of it. My style is fairly spartan, I think. I try to resist the urge to write run on or complex sentences or to use too many adjectives.

Excerpt from “A Gift of Scars”

The line of pot-beaters advanced quickly to close the gate. They cast aside their sticks and tin and took up bats and clubs and ax handles. One man carried a knobbed shillelagh, another a golf club, while others wielded hoes or shovels. They entered the pen, spread themselves out among the carpet of rabbits and started killing. The killers were tentative at first, feinting this way and that at the moving mass of animals. Then they swung their weapons with deliberate aim, encouraged by the skulls crushed, backs broken, eyes popped and guts oozing out between legs still kicking. They settled to their work quickly enough, killing methodically and with grim satisfaction.

One man swung a piece of lumber studded through with nails to which the rabbits became impaled, the better to confirm his kills as he flung them away and counted them aloud. Another man was stomping and crushing rabbits with both booted feet while swinging an ax handle in each hand, his arms and legs jerking wildly like the dancing of some mad marionette.

Excerpt from “Oz Destiny”

          Keeping her eyes downcast, she slowly removed her hat and leaned to set it on the ground. Then, with movements slow and easy, she toed off her boots and slipped out of her horsehide jacket and trousers. She wore a man’s undershirt and drawers and she removed these too. She stood naked with her head down, eyes averted. The stallion arched his neck and took a step toward her. By inches she turned away from him, lowered herself to her hands and knees, and bent her head to the ground, presenting herself to him.

          Jesus, Rat rasped, I can’t believe what I’m seeing.

          Neither can I, Oz said in a hoarse whisper.

          I’m not sure I want to see what might happen next.

          Then quit watching.

          I can’t, dammit!

          The stallion came forward haltingly, a few paces at a time, snorting and skittering in sidelong steps. At a distance of ten yards, he lowered his head, sniffed and blew twin clouds of dust below his muzzle. He lifted one front hoof as if he might advance further, but then abruptly whirled and charged off at a gallop to harry his mares into flight away down the valley until they were just dust and the dying sound of hoofbeats.

          While they watched her dress and begin to climb back toward them, Oz and Rat shared an uneasy silence until Rat finally said, She’s completely gone in the head.

          I’m not so sure of that, Oz said thoughtfully.

          All I can say is it’s a helluva way to try to catch a wild horse.

          She wasn’t trying to catch one.

          No?

          She was trying to be one.

~ ~ ~

Follow Gregg Norman Author on Facebook: https://www.facebook.com/gregg.norman.5015

on WordPress: https://greggnormanauthor.com/

on goodreads: https://www.goodreads.com/author/show/19130607.Gregg_Norman

The Fighting Writing Fool

In the first round of a tough fight, only a FOOL shouts, “I yam fuh-reaking’ lovin’ dis crap!” usually just before being knocked out by an infinitely more dangerous opponent.

Also, although I own a black toque, I ain’t Rocky and the world of fiction ain’t sides of beef. Hell, I ain’t even Italian.

Undeterred, I move forward, absorbing jabs and body shots. Relentless, bloody, concussed—I stumble on. It feels good to hit, it feels even better to be able to TAKE a hit…

Alls I’m sayin’ HEAH, is… I’ve been writing a lot lately. And, like heavyweight champ, Winslow Homer, I’ve been experimenting boldly.

The result is a small but wiry catalogue of recent work that I am actively pitching or intend to pitch to upper-tier, paying mags. Sure, some of these are gonna get knocked out before the first paragraph is read. It’s likely to be a bit of a bloodbath and “We’ve chosen not to include your story at this time,” will be spray-painted across the subway cars of my submission train more than once.

And that’s okay.  I won’t wail every time I get rejected but I will let you know when I land a punch! (I’ll grunt.)

The Mighty Hartski—A 7,400-word rommedriewe, from a snowmobile crash on a frozen field to a shared understanding, bedside in Bethesda. Still brooding over this one, ’cause I’ve been writing it for fifty years.

Tiptoe—Teenage hangovers hurt the most. Bob Dylan and Willie Nelson and a smoky donut shop on Osborne.

Grudge—Worked hard for this one, put some Beta readers through their paces too. Waiting for one more critique before I set this Victoria story free. A crime spree down by the Bay Street Bridge.

Red Lightman—You can’t spell empathy without r-e-s-p-e-c-t. 2,400-words.

“I’m burly and brawny,
not squirrely or scrawny
and if you don’t like me
that’s tough.

I shit thunder and lightning
and everything frightening
and where I come from,
that’s enough.” 

Hazel Creek—1,500 words, set in the place where I live, sharp and hard as life can be.

The Three Sisters—The type of story that gets you mad: At me, at the sad protagonist—pure as the wind, at the sister who won’t play along. 3,400 words.

~ ~ ~

FIND recent stories of mine online here: “Shade Tree Haven” in (mac)ro(mic)…  “Holthacka’s Quandary” in Lunate Fiction…“The Business of Saving Souls” in Literally Stories…  “Encampment” in TINY SEED LITERARY JOURNAL.

COMING SOON to Literally Stories, Blank Spaces, Agnes and True, and Pulp Literature.

 

The Sacrifice Fly

If you play enough baseball, you get to a point where you can produce certain outcomes with regularity. This is most true in fielding where extraordinary plays become almost routine. Predictable outcomes are less common in pitching and batting.

At the plate, it’s often the role of the batter to hit a flyball far enough into the outfield to score the runner from third base. The pitcher knows it and throws high riseballs and drops to keep the hitter on the ground or pop her up. But a decent player can often deliver that lazy SAC fly.

I think this is true across a broad spectrum. An average sales professional can renew a long-time account… a basketball player can hit the open J… a practiced politician can deflect uncomfortable questions and provide a safe non-answer without mussing her hair.

However, artists who reach the safety zone are drawn to go beyond. Dylan went electric… Vincent rendered his 200th (500th?) sunflower and looked to the heavens for a new challenge… “Finnegan’s Wake” came out and slapped a lot of people in the face. Art, to reach its potential, needs—at some point—to venture out into uncharted territory and put the artist at risk. “To boldly go where no one has gone before,” as a small Canadian actor with good hair, dimples and a cute little paunch used to say in the opening voice-over, weekdays at 5:00 p.m. in our house on Sunrise Bay.

One of my artistic heroes, Winslow Homer, wrote that one must “experiment boldly.” I agree and even though I still need to hone basic skills (a lot) I feel it’s also time for me to leave my own friendly confines and be bold.

Trouble is, unlike the master, I am not endowed with a limitless amount of talent and a universally loved body of work. But no matter, the feeling of being alone, friendless and at risk is, like landing head-oeuvre-heels in the deep-end… “good for ya!”

Lately, I’ve been on this bold mission. I’ve let myself be led by my Writing Circle and by the greats who went before. Becky Hagenston, Flannery O’Connor, and even Jean Luc Picard—my doppelganger with a Shakespearean accent. (My accent is more East Reserve, with a side order of Simon Biester coarse Mennonite brogue.)

Image result for brogue shoe

Over the last few days, I’ve gone down swinging a few times as I sought the fences. Reviewers and critiquers have sent me packing, without so much as a foul tip. They did give me tips, though—“Bet heavy—sleep on the streets” or messages of that ilk.

Yesterday, a small breakthrough. An acceptance for one of my Nina, Pinta, and hail Santa Marias. From a wonderful band of editors who know the stench of a book bonfire and are not afraid to toss ugly trash into it, but also take a dim view of too easily barbequing writers whose work takes the path less travelled. (They’re not wild about the above confusing potpourri of images, but, hey—this is just a blog, so edges may be rough.)

Speaking of rough edges, “I am a series of small victories,” comes to mind. This quote from Charles Bukowski, an experimenter if ever one there was. NO, I don’t defend his misogyny or off-handed violence, alcoholism, or other missteps and ignoble romps. I like a lot of what he wrote and respect his boundary-crossing as a part of his artistic journey.

Writers must stray. We must, “dance with the Devil in the pale moonlight,” from time to time. Must we not? Not to become a part of that world, but to know how to avoid falling into it.

Anyway, I’m excited to be doing what I’m doing and hope I can come out on the other side, better for the whippings I will take along the way.

allfornow,
Mitch

News on this story in May, when it is due to hit the internet.

Jessica Lake Idyll

Last summer a good friend visited. We drank cold Belgian lager beside a warm Manitoba lake. It was idyllic and pleasant. To add to the enjoyment, Irene told us a story from her past—her mom is my aunt’s sister and that family is famously as full of life and spontaneity as a sizzling firecracker.

I confessed to our friend Irene that the story was terrific and that, guiltily, I was tempted to steal it. She said I could steal with her permission—so, a theft, but legally pre-excused.

Over the next few months, I wrote it first as a short essay, then changed it to be used as the first segment of a more complicated three-part story.

It was, I believed, a truly Canadian story and more so a Canadian Mennonite tale, even though my friend’s mom is not, by origin, a Mennonite. (But she sure as heck lived with Mennonites, as did her sister—my aunt.) I sent it out for consideration by several literary journals, hoping for the best.

Ultimately, I decided to withdraw the story. I had grown dissatisfied with it and a few readers—other writers whose opinion I trusted—felt it was convoluted and disjointed, even if they didn’t say it exactly that way…

Schiet.

But, one of the markets spoke up. Like several of my writer friends, they said the first segment of the story was worth keeping and would I care to rewrite it as a solo piece? “Sure,” says I, happy for the lifeline.

So I rewrote and resubmitted. I felt positive, partly because of the resurrection and also sensing that the reduction from that longer piece was now more purely refined; “Un sirop nappant,” as, René, a spontaneous Jessica Lake neighbour and skilled cook, might have said.

Happily, the editors agreed and come July, “The Grittiness of Mango Chiffon” will appear in Agnes and True, an exceptional Canadian publication.

Agnes and True is a Canadian online literary journal.

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Our journal was founded on the belief that there are many writers whose work has not yet had the chance to be appreciated and many stories that have not yet found their literary home.

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As our name suggests, Agnes and True celebrates the achievement of women, though not exclusively. We are particularly interested in discovering and publishing the work of emerging older writers (both female and male).

My thanks to the editorial team at Agnes and True, home to more than a few sizzling firecrackers, I am sure.

Agnes and True is brought to you by The Trojan Horse Press, Inc. 

 

 

 

 

Publication-Interviews-Readings

The list is getting long enough to have its own dedicated page. I’ll keep this page more or less up to date and that is all I’m gonna say about that.

Last updated: June 2, 2020

PUBLISHED

Since June 2016:

“Encountered on the Shore”, CommuterLit (Ca), 2016

“A Vile Insinuation”, CommuterLit (Ca), 2016

“Without Reason”, CommuterLit (Ca), 2016

“Zero to Sixty”, CommuterLit (Ca), 2016

“The Margin of the River”, CommuterLit (Ca), 2016

“Nothing to Lose”, Fiction on the Web (UK), 2016

“Heavy Artillery”, Fiction on the Web (UK), 2016

“Breezy and the Six-Pack Sneaker”, Literally Stories (UK), 2016

“The Fifty Dollar Sewing Machine”, Literally Stories (UK), 2016

“South of Oromocto Depths”, Literally Stories (UK), 2016

“A Fisherman’s Story”, Rhubarb Magazine (Ca), Issue 39, 2016

“Our German Relative”, Red Fez (Ca), Issue 96, 2016

“Graperoo”, Fair Folk Journal (US), 2016

“So Are They All”, Voices (Ca), Volume 16, No. 2, 2016

“The Phage Match”, Broken Pencil (Ca), 2016

“The Rothmans Job”, CommuterLit (Ca), 2017

“Winter Eve in Walker Creek Park”, CommuterLit (Ca), 2017

“South of Oromocto Depths”, CommuterLit (Ca), 2017

“Encountered on the Shore”, CommuterLit (Ca), 2017

“The Preacher and His Wife”, Literally Stories (UK), 2017

“The Beefeater and the Donnybrook”, Literally Stories (UK), 2017

“The Light Pool”, Alsina Publishing LingoBites (UK – English and Spanish), 2017

“Nothing to Lose”, Digging Through the Fat (US), 2017 (Link)

“Heavy Artillery”, Digging Through the Fat (US), 2017 (Link)

“The Business of Saving Souls”, Literally Stories (UK), 2017

“So Are They All”, Literally Stories (UK), 2017

“The Rothmans Job”, Sick Lit Magazine (US), 2017

“The Business of Saving Souls”, Sick Lit Magazine (US), 2017

“I am Otter”, The Machinery – A Literary Collection (India), “Fauna” 2017

“The Log Boom”, Storgy.com (UK), 2017

“Encountered on the Shore”, Occulum (US), 2017

“The Peacemongers”, The MOON magazine (US), 2017

“The Margin of the River”, riverbabble (US), 2017

“The Seven Songs”, Fictive Dream (UK), 2017

“I am Otter”, CommuterLit (Ca) 2018

“Fall From Grace”, Literally Stories (UK), 2018

“Of a Forest Silent”, Alsina Publishing LingoBites (UK – English and Spanish), 2018

“City Lights”, Literally Stories (UK), 2018

“The Bottom of the Sky”, Fiction on the Web (UK), 2018

“In the Dim Light Beyond the Fence”, riverbabble (US), 2018

“Nothing to Lose”, riverbabble (US), 2018

“Shade Tree Haven”, Doorknobs & Bodypaint (US), 2018

“Sweet Caporal at Dawn”, Blank Spaces (Ca), 2018

“Sweet Caporal at Dawn”, “Just Words, Volume 2” (Ca), 2018

“Away Game”, Pulp Literature (Ca), 2018

“The Doeling”, Cabinet of Heed (Ireland), 2018

“Groota Pieter”, River Poets Journal, Special Themed Edition, “The Immigrants” (US),  2018

INTERVIEW, Mennotoba (Ca), 2018

“The Narrowing”, Scarlet Leaf Review (Ca), 2018

“Wide Winter River” podcast Not Ready for Prime Time (US), 2018

“The Fifty Dollar Sewing Machine”, Literally Stories (UK), 2019

“The Toboggan Run”, The MOON magazine (US), 2019

“Peacemongers”, The MOON magazine: “Out of This World” The Best Short Stories from the MOON (US), Volume 1, 2019

“Cave on a Cul-de-sac”, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 93, 2019

“Din and the Wash Bear”, The Hayward Fault Line, Doorknobs & Bodypaint (US) Issue 95, 2019

“Died Rich”, Fabula Argentea (US), Issue #27, 2019

“I am Otter”, Short Tales – Flash Fiction Stories (Iran), 2019

“Away Game”, Short Tales – Flash Fiction Stories (Iran), 2019

INTERVIEW and EXCERPT from WIP novel, “Mulholland and Hardbar”, South Branch Scribbler (Ca), 2019

“Ifs and Butters”, TurnPike (US), 2019

“Concealment”, Me First Magazine (US), 2019

“Groota Pieter”, Pact Press (Australia), “We Refugees” anthology, 2019

“Fast and Steep”, Riddle Fence (Ca), Issue 34, 2019.

“Holthacka’s Quandary”, Lunate Fiction (UK), 2019

“Shade Tree Haven”, (mac)ro(mic) (US), 2019

“My Writing Day”, my (small press) writing day (Ca), 2019

“The Log Boom”, River Poets Journal, Special Themed Edition, “A Fork in the Road” (US),  Date TBA, 2020

“The Business of Saving Souls”, Literally Stories (UK), January 26, 2020

“Encampment”, Tiny Seed Literary Journal (US), February 8, 2020

“Regrets de Foie Gras”, Literally Stories (UK), May 2020

“My Life as a Corkscrew” (CNF), Blank Spaces (Ca), June 2020

“The Grittiness of Mango Chiffon”, Agnes and True (Ca),  July 2020

“Piece of My Heart”, Pulp Literature (Ca)  Issue 27, Summer 2020

“The Margin of the River”, Blank Spaces (Ca), Sept 2020

“Away Game”, Quail Bell Magazine (US), TBA 2020

CONTESTS & AWARDS

“So Are They All”, Second Place in the Adult Fiction category of the Write on the Lake (Ca) contest, 2016

“Fall from Grace”, Honourable Mention in The Writers’ Workshop of Asheville (US) Memoirs Contest, 2016

“The Phage Match”, Finalist in Broken Pencil’s (Ca) annual “Deathmatch contest, 2016

“Cave on a Cul-de-sac”, Winner in The Hayward Fault LineDoorknobs & Bodypaint (US) Issue 93 Triannual Themed Flash contest, 2018

“I am Otter”, CommuterLit (Ca), Runner-up in for Flash Fiction Feature, 2018

“Sweet Caporal at Dawn”, Nominated by Blank Spaces (Ca) for a PUSHCART PRIZE, 2018

“Piece of My Heart”, winner of the Pulp Literature magazine Editors’ Choice in the 2020 Bumblebee Flash Fiction Contest.

READINGS

Voices Launch, McNally Robinson, Winnipeg, MB, 2016

Pulp Literature Issue Launch, Vancouver, BC, 2017

Manitoba Writers’ Guild, Artspace, Winnipeg, MB, 2019

Prosetry, Jessica Lake, MB, 2019

Driedger Readings, Winnipeg, MB, 2019

Victoria Writers’ Society AGM, Victoria Central Library, Open Mic, Jan 8, 2020

Pulp Literature Reading Series, live internet April 24, 2020

Jake Epp Public Library, Steinbach, MB, 2020 (date TBA)

FOLLOWERS

Twitter 5,499

Facebook 290

Goodreads 209 friends, 12 followers

LinkedIn 916

WordPress 176

Prosetry in the Park

Photo Caption: Here we are on July 20. Photo by Phil Hossack.

POSTED HERE EARLIER (Pre-event): Janice and I live in a 1950 cottage on the shore of a lake in the Whiteshell Provincial Park in Manitoba.

We try to live simply out here in the boreal–WiFi and Polish beer notwithstanding–but even the residents of Walden Pond gave in to the occasional venture back to the city for supplies and human contact. Us too.

On July 20 we will try to bring the city to the Park. We hope to be swamped by forest-thirsty urbanites, neighbours, and friendly randos here at our Walden. We will welcome these visitors to be our guests and, if they can, to bring a story, a poem, a song, a painting and share it with the gathering.

A night under the stars. Informal artistic expression and reflective appreciation. Come by boat, windsurfer, canoe. Swim, hike in, ride a bike or fill a vehicle–float plane, microbus, Red River cart, or a 1947 Lincoln Zephyr. . . whatevs–with your most convivial merry prankster friends.

[…] “twas in another lifetime,

one of toil and blood.

When blackness was a virtue, the road was full of mud.

I came in from the wilderness, a creature void of form.

‘Come in,’ she said, ‘I’ll give you shelter from the storm.'”

~~~

prosetry sign 1

Let us, like Bob Dylan’s friend in his mystic lyric above, offer you an evening of shelter from the storm.

AND, if you can’t make it in person, we’d welcome your proxy–a snippet or an excerpt or a few lines of verse. We’ll present your work with reverence and hope. Then we’ll toast you and hope once more—that you join us next year.

Contact me here or on Facebook, twitter, email, Goodreads, phone, or drop in for details. mtoews55@gmail.com to learn about the point in time and space where reality meets infinity, borne on blintering starlight at the 50th latitude.

JULY 22 The Aftermath… see it all here: https://tale.code.blog/2019/07/23/prosetry-anthology/